Macedonian violinist and conductor Emilio Percan began music lessons at age seven, and gave his first recital at 14. He studied with Isabella Golovina in Moscow and Dora Ivanova in Sofia before attending Folkwang University in Essen, where he studied with Peter Daniel. Percan also worked with Andreas Reiner, Vladimir Mendelssohn, Christian Rieger, Dirk Mommertz, and Stephan Schardt. He joined the L’Arte del Mondo in 2006, performing as concertmaster and soloist in concertos. He has collaborated with Daniel Hope, Viktoria Mullova, Simone Kermes, Michael Roll, and Ruth Ziesak. Percan has performed in Europe and South America, and he has appeared as a concerto soloist with several orchestras, including the National Symphony Orchestra of the Republic of Bashkortostan, with whom he recorded Brahms' Violin Concerto. He has recorded for Pan Classics and Onyx Classics.
© Blair Sanderson /TiVo
© Blair Sanderson /TiVo
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Classical - Released March 5, 2012 | Onyx Classics
Piani was well enough regarded in his own time to get hired in Paris and then across the continent in Vienna, where he spent the last four decades of his life. He has been forgotten probably because the group of Sonatas, Op. 1, that are excerpted here are his sole surviving works. With the rise in popularity of Francesco Maria Veracini and the other Italians who took their music to France and England in the early 18th century, Piani is worth getting to know. With the exception of the opening Violin Sonata in B minor, Op. 1/8, heard here, Piani's sonatas are in five movements, a departure from the usual sonata da camera pattern. They mix French dances and Italianate movements in various combinations, and overall the balance between the two not-yet-reunited tastes is very cleverly done. The level of virtuosity is not quite as high as in Veracini's works, but the finales are brilliant, with plenty of fire for the harpsichordist as well as the violinist in these readings (it's not clear how many of the ornaments are improvised and how many written out). The sonatas by Handel and Geminiani make an ideal counterpoint for Piani's style, but "affettuoso" (affectingly) is not quite the first word that would come to mind when hearing Percan's rather astringent playing, and he's not helped by the chilly acoustic from the St. Nikolaus Kapelle in Velbert, Germany, chosen by Onyx's engineers. Nevertheless, Baroque buffs will welcome the addition of this almost unknown music to the marketplace. © TiVo
Classical - Released June 2, 2017 | Pan Classics
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